Jennifer has worked on Dance Magazine since graduating from New York University's Tisch School of the Arts with a BFA in dance and journalism. A former senior editor of Pointe, she has also written for The Atlantic, Runner's World and other publications. As a dancer, she performed with California's Peninsula Ballet Theatre, Israeli choreographer Gali Hod and for Cirque du Soleil's 25th-anniversary celebration.
Tired of the typical turkey and stuffing? For Thanksgiving this year, try something different with these personal recipes that dancers have shared with Dance Magazine. The ingredients are packed with dancer-friendly nutrients to help you recover from rehearsals and fuel up for the holiday performances ahead.
If anyone raises an eyebrow at your unconventional choices, just remind them that dancers are allowed to take some artistic license!
There's a new tool that lets amputee ballet dancers perform on pointe. As reported in Dezeen, an architecture and design magazine, industrial designer Jae-Hyun An has created a prosthesis he calls the "Marie . T" (after Marie Taglioni, of course) that allows dancers with below-the-knee amputations to do pointe work.
A carbon fiber calf absorbs shock while a stainless steel toe and rubber platform allow a dancer to both turn and grip the floor to maintain balance. What it doesn't allow the dancer to do? Roll down to demi-pointe or flat.
Former chair of New York University's Tisch School of the Arts dance department Linda Tarnay died on Tuesday, November 6. Her wish was to have her ashes interred in the columbarium at St. Mark's Church-in-the-Bowery—the site of Danspace Project and just a few blocks away from the Tisch dance building.
Before her 35 years of teaching at NYU, Tarnay was a founding member of Dance Theater Workshop. She performed with choreographers like Anna Sokolow, Phyllis Lamhut and Jamie Cunningham. She also started her own company, Linda Tarnay and Dancers, and was an artist-in-residence at The Yard.
During his tenure at The New York Times, Alastair Macaulay has not been accused of being timid. Or boring. As the newspaper's chief dance critic, he has probably been the most talked-about writer in the dance world. His raves and his pans have become their own news; his words have led to as much chatter backstage as on social media.
At the end of this year, he's passing the baton along to a new critic. (His replacement hasn't yet been announced.) Although he'll still contribute to the Times' dance section through 2019, he says he wants to spend more time in his native UK, and work on a wider variety of projects, including several books.
Before he departs from his post, we took the opportunity to ask him a few of our most burning questions, and he agreed to respond over email.
Ever dreamed of dancing in the companies of modern or post-modern dance giants like José Limón, Paul Taylor or Trisha Brown? Then it might be time to enter a dance competition.
Yes, you read that right.
Probably the last genre of dance you'd ever expect there to be a competition for now has its own track at the Dance Prix de New York.
The competition debuts this March, led by Seán Curran, chair of New York University's Tisch Dance department and Jolinda Menendez, a former American Ballet Theatre dancer who now teaches at Tisch (where all the rounds take place). There's both a classical and a contemporary track—although the "contemporary" category isn't what you'd usually expect to see when you hear that word at competitions. Rather than tilts or round offs, the focus will be placed on more subtle modes of movement.
Dancers will do just about anything to increase their odds of staying injury-free. And there are plenty of products out there claiming that they can help you do just that. But which actually work?
We asked for recommendations from four experts: Martt Lawrence, who teaches Pilates to dancers in San Francisco; Lisa-Marie Lewis, who teaches yoga at The Ailey Extension in New York City; physical therapist Alexis Sams, who treats dancers at her clinic in Phoenix; and stretch training coach Vicente Hernandez, who teaches at The School of Pennsylvania Ballet.
At our cover shoot for the November issue, Bobbi Jene Smith curated one of the best lineups of YouTube music videos that I've heard in a long time. From Bob Dylan to Tom Waits, they felt like such perfect choices for her earthy, visceral movement and soulful approach to dance.
Sidi Larbi Cherkaoui is a busy man. These days, when he's not directing Royal Ballet of Flanders or his contemporary company Eastman, he's working on a new duet with Irish dancer Colin Dunne, creating a premiere for the Göteborg Opera, or choreographing on Beyoncé like it's NBD.
Next week, he's also taking a trip to New York City to perform in Sutra, his hit collaboration with a group of 20 Shaolin monks. In the 10 years since its premiere, the work has been performed in 60 cities across 28 countries to rave reviews and sold-out audiences. The New York performances at the White Light Festival mark a homecoming to the same festival where the piece received its US premiere.
We recently caught up with Cherkaoui to hear his thoughts on performing on the opening night of the run, what he's learned from the monks and how he manages to juggle so many projects at once.
Ever since I saw it last week, Kyle Abraham's The Runaway for New York City Ballet has been haunting me.
Of course, it was a big deal that the interim leadership team (specifically Justin Peck) asked Abraham to choreograph on the company, marking the first time in more than a decade that NYCB has hired a black choreographer. But what struck me most was not the symbolism of the commission. Or even the experience of hearing Kanye West blasted at Lincoln Center, for that matter. It's what Abraham did with Taylor Stanley that I haven't been able to stop thinking about.
Dance has a long history of social activism. Heck, our website even has a whole section devoted to it. But tackling social justice causes has typically been the territory of mature dance artists and brainy college students.
Not anymore. This year, teenage dancers throughout the country have started getting involved to highlight an issue that directly affects them in the worst way possible: gun violence. And they're doing it through dance.
"For me, it's a big full circle," says Lanteri, who used to take class at Steps when he first moved to New York City, and started teaching there in the mid-1980s. The 4:30 p.m. Tuesday/Thursday Advanced Intermediate Jazz slot he held down for many years taught a slew of young talent—including choreographers-to-be like Jessica Lang and Sergio Trujillo. "As a young teacher, Steps was a platform for me to travel the world giving master classes; it became the underlying foundation for what I'm doing now in my life."
New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)
The New York Times reports that NYCB says the change from suspension to termination resulted from hearing the concerns of dancers, staff members and others in the NYCB community. Yet it's hard to ignore the fact that a lawsuit against NYCB had been filed in the meantime. A statement from NYCB executive director Katherine Brown and interim artistic team leader Jonathan Stafford stated:
"We have no higher obligation than to ensure that our dancers and staff have a workplace where they feel respected and valued, and we are committed to providing that environment for all employees of New York City Ballet."
Since the news was announced, both Catazaro and Ramasar have spoken out publicly about being fired.
Update: Additional perspectives have been added to this story as more responses have come in.
"Every time I see a little girl in a tutu or with her hair in a bun on her way to ballet class, all I can think is that she should run in the other direction," she said, "because no one will protect her, like no one protected me."
It was quite a statement, and it got us thinking. Of course, it's heartbreaking to imagine the experiences that Waterbury lists in the lawsuit, and it's easy to see why this would be her reaction.
But should aspiring ballet dancers really "run in the other direction"? Were her alleged experiences isolated incidences perpetuated by a tiny percentage of just one company—or are they indicative of major problems in today's ballet culture within and beyond NYCB's walls?
New York City Ballet will be three male principals short this season. Due to "inappropriate communications," Amar Ramasar and Zachary Catazaro have been suspended without pay until 2019, and Chase Finlay has resigned, effective immediately, according to The New York Times. (Finlay's name has already disappeared from the company roster on nycballet.com.)
A statement from the NYCB board chairman said they received a letter from someone outside of the company "alleging inappropriate communications made via personal text and email by three members of the company" that were "personal in nature." It added that the board's efforts to reach Finlay to even discuss the allegations were unsuccessful, which leads us to believe that it must have been quite a serious offense.
Like any dancer, Leah Merchant expects a lot from her body. "We're so trained to push, push, push," says the Pacific Northwest Ballet soloist. But one of her favorite hobbies—hiking—has shifted her mind-set.
On the trail, she's learned that harsh weather or tough terrain sometimes means you need to be patient with yourself. "It's trained me to not feel like I failed just because I need to rest a minute," she says. "Sometimes you have to let that be enough for now, and try again next time. It's more about continuing to make progress than it is about being perfect."
The International Ballet Festival of Miami honored Dance Magazine with its Criticism & Culture of Ballet award this weekend during its closing gala performance.
Before the stage was taken over by local favorites like Miami City Ballet and Dimensions Dance Theatre, European stars like Céline Gittens and Brandon Lawrence of Birmingham Royal Ballet, and several amazing dancers from Latin American companies rarely seen in the US (Compañía Nacional de Danza from Mexico, Ballet Nacional Dominicano, Compañía Colombiana de Ballet and Ballet Nacional Sodre from Uruguay), I was invited onstage to accept the award on behalf of Dance Magazine.
"So You Think You Can Dance" choreographer Christopher Scott woke up one morning last month, rolled over like he usually does to check his iPhone—and found a barrage of text messages and notifications. The very first text he read was from fellow "SYTYCD" choreographer Mandy Moore: "Congratulations!"
It turned out that he'd just gotten his third Emmy nomination for choreography. (Moore had received one, too.) "We find out at the same time as everyone else," says Scott. "Everything official from the television academy comes through the mail weeks later."
Last night, Misty Copeland posted a call to action in a pair of Instagram posts, calling for her followers to share the names of African-American ballerinas.
Whenever I get a massage, I like to completely zone out until I'm just barely not asleep. Even if it's a deeper sports massage, I go to my happy place (kayaking on a lake with a golden retriever sitting next to me) in an attempt to ignore the pain.
But should a massage session actually be a bit more active to get the most out of it?
Earlier this week, a friend of a friend reached out to me seeking recommendations for a dancer/choreographer to hire. She wanted someone who could perform a solo and talk about their process for an arts-appreciation club. After a few emails back and forth, as I was trying to find out exactly what kind of choreographer she was looking for, it eventually emerged that she was not looking to pay this person.
"We are hoping to find someone who would be willing to participate in exchange for the exposure," she wrote.
Why do people think this is an okay thing to ask for?
When it comes to what you should be eating, rumors often catch on like wildfire. Dietitian Rachel Fine, who works with dancers in New York City, shares the most misguided nutrition strategies she's recently encountered.
Ezra Hurwitz's dance trailers are tailor-made for going viral. His fast-moving shorts highlight not only the glamour of dance but also the grit, with a stylish Millennial sensibility.
The former Miami City Ballet corps member has been tapped by everyone from San Francisco Ballet to The Kennedy Center to Broadway's Chicago. He's also done commercials for non-dance companies like WeWork and Opening Ceremony, and collaborated on a music video for The National with Justin Peck. But no matter who's in front of the camera, his dancer's eye is always behind it.